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C~~~LUWU <7 ^ ic...^ i^^u.S9 177 /f7
Date: March 7, 1974
Subject' Larry Warriox
Interviewer, Lew Barton
Transcriber: Sharon Harrington
B: This is March 7, 1974. I'm Lew Barton, recording for the
University of Florida's History Department. This afternoon
I'm in the home of Mr. and Mrs. Tracy Warriox in Pembroke,
North Carolina, and with me is one of their sons, Oa who has
kindly consented to give me an interview tWould you give us
your name, please?
W: Larry Warriox.
B: How old are you, Larry?
B: ^ your father and your mother are,..
W: Tracy Warriox and Virginia Warriox.
B: Who was Mrs. Warriox before she married?
W: She was an Atwood.
B: Where is she from?
W: Washington, D. C.
B: ft6what do you do, Larry?
W: t play music)and I work along with dad a little bit.
B~,iXU r: ~s I know you've
got a nice outfit. I like it very much and its called the Flame.
-^ % z iise ^,iaZ^-aesb**---
B: T armb I appreciate being with you fellows over in
Fayetteville the other nighy.
W: Yeah. We had a pretty good time.
B~ "i M VAnd that music sounded great. Z you're not married,
B: And you're nineteen?
B:r ilj What do you plan to do with your band, who are
the members of your band, Larry
W: Well, J ,my brother, you know, the one that's in the
hospital, Tracy Warriox, Jr.
$,^ Anda my first cousin, Don Earl Warriox
vffl Xnd^ Jim Knight.
B: ?h4 is he the drummer?
B: M Ai Certainly sounded great, ou guys were kind enough
to invite me over to sit in with you) and I really enjoyed it.
^ the people enjoyed it, too.
~. And they came' people came in., ii
ot <does it feel Larry, playing *,I know your whole heart-is
W: Yeah. Sure is.
B: + when you play music, you nave to play where ever there/s
a demand for music, don't youy
xou can t always pick the places you want to play?, ec
W: oF i 6o, well, any place tst sa s crowdT.i react
Y;Wi taL types of music& we do a rock and blues type thing)
and | we play mostly for the older generation, <ftMoiM>.
B: 4*Ak Can i asK you a personal question?
W: -I guests ,SU t\f Ca^.
CaAc&s'&C I 51 ?
B: NOW, your mother's Caucasian right and your father is
b: Is this 9* an asset or a liability., ,
was born in D. C., sw* I was raised up there
with her peopleroas r really didn't j iC feel slighted
a bit, you Know, or anything. And down here; I know about
everybody nowbADeen down here about four years)A AXout the
same.tirB people are people,Ayou can get along with anybody,
of course, j you'll run into prejudtc people) and....
B: You lI do that in any groupW (P/'+ A 1L
W: Right, t t
~(a) HZ~ glI I've moved around among a
few black groups and --"
I've bee rtcouaed a little prejudiceeven in those
~l*^SSJl~i~)lb I imagine people who come into our group here in
Robeson County, North Carolina, may run into some prejudice,
i: kAmoig our people.
W:x ~ hP. .
b: And this makes me very sad and very disgusted with i~t, i'
it's as you say people are people, with all their faults, with
all their good points, with all the good things and the bad things
about them. but 9o with that music of yours, that ought
to be a help, anyway.
W: Ah, yeah.. An entertainer, he's a....
B: Kinda special, isn't heY
W: Well, yeah.
B: 4, do you nave a mixed group, is your group mixed, rh
do you haven are all ot you members'* do youA wel,, let
me ask you this; do you go tor an Indian? You could go for
either one, you know?
W: Yeah. I guess I could, really. Well, I don't,
I can say either one, you knowpg f aA*$ person asks
me am I white or am Indian, T1II say, well, my momma's white;
my daddy's Indian.,
pf I mean, I'm proud ot both my parents.
B: A you know Sonny and CherY
W- Yeah. '
' __________ e 'Sp
B: 8-ta L-L WLt-itthinr entertain"i_9t,
you know. She's got a song out call alt-breed./ I- never
liKed that namePcause I've been called that.
W: Have youT
( B:y %* what do you think ot that song'Y
W: SRE;r, I like the song. I like the lyrics.
C(7- auDo you think the lyrics are true*
^^ ss~' ,. ... --.-. .,-. ,..
or some people
W: Well, yeah, tor some people.
B: l l Luck has a lot to do with it, wouldn't you think,,
where you live; in the community you live in. I'm very sad
to say this, but some ot our people are just about as prejudice
as anybody else.
W: Yeah. Tt5s rn^ '
_ A ~/wf'e tell us something about Buddy, IfS Buddyts
seventeen! He's your brother.
Ba: f MMf^- Ij.v ~ T want to talk about him a minute
later, but4 s lets talk a little bit more about your
immediate family, your mother, did you give me her name and
W: Yeah. Virginia Warriox.
B: Right. And your ratherland then 1 how many children
are there, Larry!
W: Well, there's eight in the Family; six children. I'm the
oldest, then i' Tracy, Jr.
( '} f He's the one we call Buddy, isn't ne'
W: Yeah. Then Russell, K y, then Waiter Bruce and two
sisters Ariana and Tamy.
B: ,0lg you and I had an interview the other day,
and unfortunately our tape broke on usnand so we're having
to do it over again.
B: Does this worry you?
W: lNO, I I'm always wedr.
B: i hate to be an imposition to anybody. These tapes do
break sometimes and this one brokeand T hated it because it
was a great tape.
W: I believe we had some of what we had done down at Fayetteville,
B: Yeah, wea=J They foul up once a a while. ^ it
does better when you're doing it in person., ot course, it
does even better ir you're playing with a bandy
4^ S" but, you do all right by yourself. Do you do find
yourself alone sometimes and have to entertainjor somebody
wants you to entertainY
W: Well, yeah, 6Il like a. lot of ballad
music, I mean, it I'm just sitting around n i
*t. J^^^^e~ the song you like,"Hey Joe.
B: Right, ill t I love that. Hey, why don't
you do that. I'll shake the tamborine it you'll play it
and sing along with the guitar.
W: I'll play it/if you sing it.
B: We don't have the whole band here;
W: But ,.is~I -I_ well get it trucking, get my guitar
B: Let me see if I can find this tamborine.
B: its hard to carry it around without making a noise. i
I hope I won't throw you ott.
W: NO, we'll make it. Keady# A little Hey Joe.
They po 5 play Hey Joe, and sing
B: Oh, I like that. 1 iM0 I hope I didn't mess you
up /too much.
W: Oh, no,
B: A fou know, we were talking the 9 W" other nightand
L said 4 I hope I don't show you boys up. Now, it sounded
like exactly what I didn't mean tor it to sound. I didn't mean
I was going to play good enough to show you boys up, but/ what
I meant was, l me being there might show you up bad.
W: No, no, no, 1 T was real1 glad to have you
on stage ON uiN to talk, you talked with the crowd some.
and a of course, you know, we done that song and i, put
your Ii poem in it4 one ot your poems.
B: Right. IL
W: rhe Angels ListeniMg. We done that one. That got over big.
B: 40 0 And Buddy likes to do my Siad s sister song.
B: What happened to buddy We have sort ot a tragedy on our
hands in connection-with playing. T mean, it was not
exactly connected, but it was so close togetherand it was so
W: That's right -5$ '
i3B: /,) ifej^d l|1a lot of tragic things-do sometimes
happen to show people, don't theyY
W: Yeah. Yeah.
B: 4a, d4o you remember the night we were playing when you
we went around ,*C in the back room and you were
plugging in an instrument.
B: Tell us what happened.
W And I got, you might say executed.'
B: Almost 4TS teYw AWE X l'
W: Right.,knocted me out and everything There went half of a
B: Right, and tthe show had to go on, ot course.
W: Yeah, yeah.
B: And so as I remember, your father took you to the ca
b: And we had to go on and i got up and said, I4know
Larry, We/s a trooper and a showman and he wants the show to
go on, and I said, then, lets go on, a 'l
W:, And and you finished the show' 't
C:.a d* K iUl&o b).'Oc --' St 1 >
B: iHefh4, 'waspHank Chavis o --_ S--r- r i -il m_
W: a__h.- .T _-f '--_-i_ Danny Hughes, son.
B: Yeah. Danny Chavis' son. He was a great-drummer, too.
W: He was, heJ &ao r,,
B: And he did, he did a drum solo that night as I recall.
B: And you weren't there to hear it, butbab, boy i think you
would ot been proud of the boys, the way they carried on.
B: Their hearts were A t seemed na .- they didn't
know what was happening to yoQutazp their minds might atbeen
elsewhere, but, their music was great. Ah, you know, they
were carrying on.
B: And so what happened to BuddyY
W: Well, he was in-an auto accident and, ah, had his back broke.
B: buddy, now, buddy, was the one who plays that hot lead
W' Yeah. He plays, he plays a fantastic guitar.
B: 1 know most ot these things, but, I have to say it
because the other people don't know.
B: And we want to put it on tape. So ah, that was very sad
too, ah, what day did this happenY
W: it was, ah, Sunday.
b: Um-hum. Wi \e' s lying up there in thehospital with a
broken back and he wants his guitar in there.
b: And ah, we thought it would be a great idea at first.
But ah, his father is afraid to \ea him play the guitar,
he's not, he is in bad condition, isn't heY
W: Well he's, yeah, well, he seems to be active, I mean, he
talks good and everything, he Just cant, ah, can't move his
back any. He'll be in a brace, I guess, about six months now.
b: AHe's in great spirits
W: Yeah. He is.
B: -A6hwhat was it he said when you asked him it he wanted to
play this weekendY
W: Oh, yea. Stand him in a corner.
B: Said if you propped him up he'd play.
sb I guess that's a true showman'spirit.
B: Ah, is there something else you'd like to do, another songY
W: I tell you, Illwal hin&g Ayhp nf listening *- you put
your poem into it.
B: Ah, okay, I, we haven't tried, you know, ah, I'm shaking
this tamborine and a few other things besides, I guess.
B: Like my foot. but, I'm not used to ding tLji, but, I'll 1
do the best I can.
W: Okay. See it I can get fired up here.
They proceed. Larry plays and sings the refrains and Lew
Barton recites his poem. )
B: Well, that's es impromptu as I ever heard anything that's
impromptu. 'That is doing it without rehearse, rehearsing
and all that sort of thing.
B: but, I enjoy doing things like that and Larry,.- -be come
a long way since I first saw you.
W: xes, T've been in, been in whatthree groups now.
B: Um-hum. Is it hard to keep I-e group together
W: It is, ah, ah,.
B: How old are the guys usually, that you play withY
W: Well, I played in the Country 4Western band and ah, I
was with, I was with some older menp I guess mw*pw, they were
in their twenties, and I was about, maybe, fifteen then, and
I was, had an old Boss guitar. ___ a It'leH b,+
B: You started playing, actually, when you were too young,
when you were so young that, ah, there would be aW^ objections
sometimes to you playing because of your age.
B: Yeah,'and I'd have to go, I'd go along sometime or your
father, somebody had to do this in order for them to even let
you in the place.
W: That's right.
I: sut you were still playing. Didn't this bother you'
W: NO, not when I got on stage.
15: YOU torgot all about it, didn't you.
W: Yeah, you know, ah:, I'd always, and the fellows they were
q OU k}0n
Kind ot, I wondered how they telt about it, cause/ every place
they went to, they'd always have to carry me in there and say,
well, we got a fellow, you know, he's a little under age, but
ah, we'll, we'll all be responsible tor him, you know, and all
this. And ah, some ah, sometimes we even lost bookings, good
money, on account of that, but...
B: The guys still held on to you.
W: Right, yeah.
B: Ah, show people are the greatest people in the world, I guess.
B' And they do stick together, very, very Peg I think.
B: So, I, I Ae wishing you all the luck in the world with that
group, Larry, it sounds good, and I hope, I hope tmr all my
heart and I pray that, that, Buddy will soon be well.
W: Yes. I do, too. He ah,,.
B: He is such a great g y, T \t
W: We need him. Right.
B: Ah, he. T've heard people say, Buddy must o* been born with
a guitart-in hi-has d& t seems to come so natural to him, a
great lead, 4- you don't rind a good lead guitarist every day. e h/r
W! y .i~U.fj g t. Not that can play, it you find one, he's
either ah, they usually have one tactic, like *s Country
Western lead player wouldn't be too good at hard rock.
B: fth ahia. -
W Or a hard rock player or a psychedelic player wouldn't be too
good at Country-Western.
B: Ah-hah. How would you classify Buddy.
W: He's ah, well he's pretty well all around, we do some, we
had done some, ah, some stuff, some Johnny Cash stutf, Merl
Hagged and ah, he's good with that and well, ot course, you heard
-*- the other night, awd he's good with rock, like ah, Johnny
be uood, sturr like that.
B: He has a great sense or rhythm.
B: And he, he's sort ot a born showman,\too, isn t net
W: xes. He's, he's he's.,.
B: Get up on the table and, part or the time he'd be playing
on top the table or on something up high.
W: He's a, he's a good showman.
B: Or he'd be down on his knees or he's always moving around,
ah, he, he does imitations ah,...
B: ... ne can, he-s good all around, isn't heY
W: Yeah. He's, one's a good tront man, he can ah, it I'm ott-
stage he can ah, he can pretty well get 'em over, you know,
he, he knows how to talk to a crowd.
W: He's ah, he's good, he's really good, he's coming along
good^for his age he'p fantastic.
i: Right. That's true.
W: He, he's just seventeen.
.33 He-s really good.
B: keopie really go tor him, too. Did you see all those
pretty girls in there coming s- to see Buddy,i-== =U
B: people were turning out ah, and Buddy was just elughing it
B: He's at home with just about anybody, isn't he?
W: Yeaf. He's, well, he, he's ah, he's a good entertainers
he entertains off stage. He always got a joke or, or..,
B: That's part or his lite then, isn't itY
B: Well, he was lying there with a broken back ah, other
injuries, he a4 not complain, he was in great spirits, wasn't
W: Yes. He seems to be, seems to be satisfied that he, that,
that heJ/didn't get hurt any worse than he did, you know, he's
_ I n d .
B: Well, I certainly am, ah, is there a chance that he might
W: Yes, he s got a broke verteback svertebraj, a cracked
W: Vertabra, yeah, and if it were to break he would, they would
have to operate and, or course, that could ah, be fatal, an
B: Yeah. Well, lets continue to hope and pray that Buddy
will be all right because people need .ilm people need
entertainers like this. I think entertainment is one of the
things that make, ife worth living when things are rough,
you Knowe, come ew and relax.
W: And, now, Buddy, he was working on a song, which we, F~,
you know, were to help him with...
W: ...and ah, if we can get, well, it we can write some originals,
we, I believe, we could, that would get us a good start.
B: Well, we already have the ah, the melody, buddy's already
written the melody and he's given -fl- title and he's expecting
you, you.and I to come up with something, ah, you know, some
W: Right. And the song, the song you wrote, the one you wrote,
he's, he's the only one "ae really, it suits him on time stage,
6: plas ;+ 9jo &'
you know, cause, he sings it good and he, he's got hisf yes,
., 4J, H WAJ
and he's got his own lyrics, one's got f the guitar, and that,
that song, that s a good song. i wished he were here to kind ot
run over a little bit with you.
B: Yeah. I fish it were possible, but ah, I hope everythingIs
going to be all right and ah, Buddy's going to be back on his
feet soon. What was that joke about when I'll be on my feet,
aks who was that telling me that JokeY
W: N-RdFo "~- NO, that was Buddy.
B: Oh, yeah, telling us that yesterday.
W: About, about the doctor.
i: eah. He was lying up there. Tell us this joke he told.
W: About, he told the lady, he told the lady, that was a
patient, that an, if sne listened to him, he would have her on
her reet in a week.
W' And when she got out, she said he told the truth cause she
had to sell her car to pay the doctor bill.
B: He surely did put her on her feet\didmAt he?
B: Oh, he can tell iSt, the way ne tells it, you Know, you're
sitting on the edge ot your seat waiting to see what he's going
to say next.
B: Ruddy's an old cnarmer and you are too, Larry.
W: Weil, ah.
B: And you boys work together great, and ah, Don ba., T he-s
a Warriox, too.
W: ies, ne-s our first cousin.
B: That's your first cousin, and an, this drummer you ve got noo
W: Yes, ne s a, A, eI..
5: Is he a black gentleman'
W: Yes. He, he is.
$Yta~ s &u ga
B: Um-hum. Well, te eertain, he s r good, .
^eS, he' Is,
W: IAe's a, well, we consider him as one ot us, you Know, we re
all together in this thing.
ba Um-num. uo you thinK there's less prejudice against musicians
than among other people?
W: I believe so, because, an entertainer has to be, as well as
off stage, he has to, ah, 4iae the people feel at ease, you Know.
W:' LiKe when we re off stage I, wnen I-m around cie and ah,
people that come and dedicate the songs, you Know, they-d
liKe to near music and all that. 1 talK to lem and, well, I try
to be as friendly as I can anywhere I am.
W: Cause if T'm at a place performing and they see me, they say,
've talked to that gy, you k e you you've played
live talked to that guy, you know, ad, wK+E4 you) you've played
music2 pro essional music, ddrs-
b: Well, I, T love it. I, T wish I was better.
W: In fact, we, we were talking, you Know, we've bee discussing
on a, you Know, you were going to help our group out, manage us
some and, that you were tne manager or Stone Cloud.
B: Well, I enjoyed that very much, ah, you Know, there-s
\j ,LA kuwovD
another thing about musicians, sometimes you have to ptay in
bars and things tiKe this, where Aver people want you, you're
an entetaine' entertainment and you have to do it
an entertainers you're in entertainment and you have to do it...
B: ...or it you want to succeed you do it.
W: That-s right.
b: Duc nave you ever noticed, Larry, that, no matter even if
the place gets rough and its conceivable that you might nave
some trouble at a bar...
b: And ah, but, nave you ever seen...I've never seen a
musician bothered though, have you:
D: for some reason Ae people wiRt protect -a musician, they
don-t want you to bother their music, do theyY
W: No, they.,,
D: maybe tnat-s t luck teen don t you think, Larry!
W: xeah, it is, tor my sake. Well, ah, we, we really, we
don't usually have too much trouble) cause we re up there
usually between songs, we re always talking, you know, have
a good time, enjoy yourself, we'll be around'til, like maybe
one o'clock or so, you Know. We try to make ou teel.,,
b: Do people pester you a lot about dolnu tneir favorite
numberland this sort or thing'
W: Yes, a lot, most, wnen we play in a nightclub, ah, there's a
lot, there s a lot or the older people.ieA theylwant -something
we ve never neard of and we say, well, we don't Know it, ah, )
it -we did weId sure play it.
D: um-num. Well, you Know, sometimes people don't realize how
much practice goes into each song you do, you know.
B: An an, its impossible for any group to play all the songs, is
W That-s right.
a: They're so numerous.
W: ALike we had, we don t, the song Satin Sheeqr we've had a,
well, every time we play we get request, after request, after
request, but, we don't have a female vocalist in the group to
do that, you see.
B: Right, i*,. it is a song tor a female vocalist.
W: Now, we have had a tew girls, wEBi, would do it tor us on
yO'A0 ^9-^ ,
stag-Aand we would back her up with the music. But, otherwise,
an, we, we can-t do anything like that.
B: Ah, where your music is concerneddo you tninKah, your
Indianess, an, is an asset:
W: No, we were, we wanted to change on it, we wanted to get,
we wanted an Indian name at tirst, we were thinking about,
maybe, calling ourselves Tribe or maybe Treaty and ah, we just,
we all voted on Elame, ah.
B: I like the Flame.
W: Yeah, its, its, a good, its okay, its orbetter than a, better
than some ot the names we thought or.
rs Whae s the name or this 50+to
o: What s the name ot this song we've jTst come up with for
W: Stairway to Heaven.
B: Stairway to Heaven.
B: He;s given us the melody and he s given us the title and
now its up to you and me to produce lyrics.
Ah, well, we'll come up with something.
W: Right, maybe someday.Js be heard.
W: I'd like to. Well, I'd, I'd like, I wanto4 to try, I mean,
I've always wanted! b1t when I wasareal little boy, sed to
listen to the Beatles and run around and sing and holler. I was
a I'eatle", you know what I mean.
W: I, I wanted, I wanted so bad to be in a group, and some of
my friends, they played guitars well, my dad plays guitar, you
B: Right, and your mother plays *trli-s e-.
W: Right, right, and I just wanted to form a band.
B: Um-hum. Um, how old were you when you first started
W: Well, I, well I, I started messing with a guitar when I was,
I, I guess, thirteen, fourteen, and when I was fifteen I got
in my first group.
B: At fifteen?
B: How about that. Well, I certainly wish you the best of
everything.ah, a Mr. Bill Paul was asking about you the other
day, he's doing some promotional work.
B: He's a old Hollywood boy. He spent twenty-seven years in
tO (A, 1/<, ou
Hollywood and he has an organization/to promote local talent
and ah he's very much interested in you boysU he thinks you're
very good, and of course, you are. Ah, do you have another song
you want to do?
W- Ah, well, name, name one. Ah, can you think of anything
you'd like to hear?
B: Well, just about anything you do sounds good to me. You
pick us th*t one.
W: Oh, let me see.
B: I hope, I hope soon thi your band will learn Behind
Closed Doors; right now is-a big song, isn't it?
W: It is, it, its, its,really good. Lets reach-way back
and get one of the old Country-Westerns we used to do, Johnny
W: Folsom _: Prison. I won't put any lead in there since I
don't have the rest of the group, we'll just...
B: Okay, I'm going to try to shake the tamborine all right, -th.i
W: -kav. h hLd-
(they proceed to sing and play. Larry Warriox playing guitar
and singing and Lew Barton playing tamborine.
W: I, I mostly forgot that, its been so long since I've done
B: Yeah. I, this is one of the early songs you did.
W: Yeah. Yeah. That's one...That was an old one, lets see.
Lets do a little ah, a little something else. I'll do, I'll
try one SE.
(They proceed to sing and play.)
B: I enjoyed that, Larry. Ah, you, you were awfully kind to
do this interview over again.
W: Yes, well.
B: And, and I apologize...
W: Oh, that's okay.
B: ...for the tape company that produced this ah, bad tape, ah,
because ah, this is why I like to use two, I like to double
B: ...I hate to ask people to do something over again.
B: Ah, you know, when they're kind enough to give you an
W: Ah-hah. -A., maybe we could ah, get ah, Don Earl and my
brother and you could get an interview with them sometime.
B: Ah, Larry, what would you say to other young people and
another, ah, one more question I want to ask you about, ah,
you know, the way musicians have to dress, and young people
do dress 4diferer -way these days and wear their hair long
course, I've got lonr hair now and I think this is just
about .xceptedaiB do you have any trouble about long
hair. nmatim-- nzom .
W: No, ah,...
B: oa' Ccl >- 0t o f+-'rs5
W: Well, yes, ah, if, if you're in a place and ah, they do
kick you about your hair, they usually don't know that I'm a
musician.but, ah, bsw4 people see me on stage and know that I
play music, I mean, just about all rock groups or, I've even
seen Country Western groups with long hair.
W: So ah, I don't...
B: A .v* .-a-, friend of mine, wears his long, so I felt better
about mines I grew mine out long because I wanted to go on
T.V. and I wanted to look like everybody else.
W: Well, wvt, an old, an old.,, I think a younger person,
like myself and lots others, an older person with long hair, you
feel, I believe they accept him quicker, you know, they, they
feel, well say, he's like us, I can talk to him.
B: Right, right.
W: I mean, -h-, its not a really, long hair doesn't mean you're
different from anybody.
W- It doesn't mean that at' all. I mean, its just something
that ah, just like tie short haws itwe5 *
W: I mean, if you like it you like it.
B: Do you think maybe it works the other way around Larry, that,
OVcnqf I r
long hair shows a ~eBTmW, 'likeness between people. Ah, you,
if you wear long hair you're sort of in and people more or less
accept you/ in your group any way and A4kt the older group i-0- O.K
doing it too, a lot of people. \I'm like you Lou can get by
with long hair better than most people because you're a
B:...and I because I'm a poet. They expect us poets to be a
!5*t4C$^ uMt &i.AI
little bit strange and I'- bea-fraiLf4er o- M.J and musicians,
Do you think there's a lot of, ah, prejudice against musicians
or show people, in general.
W: iA well,.
B: Do they think, do people think show people are worse than
other people or better or different or something.
W: Well, its, its, its, hard, its well, a lot of people
I speak with when I'm playing off stages, you know, I wished
I could play a guitar like you, I wish I could sing like you, ort
um, a lot of 'em which have been in groups they, they ah, they"A
like to know how I've stayed with it, stuck with it
And ah, well, a lot of girls are really fascinated by
musicians, you know.
W: And ah, well, there's really nothing to it. I mean.
B: eIw, who do you thinks the most popular, Larry, ah, with
girls now, musicians or ah, football players or baseball players
and things like that.
W: Its, its hard to say. You could be, you could be on stage
and the girls '.-i: might fall, fall for yap #nd then, a football
player is the same way, really, its all in the mind is what. E4Ie ~.-)
a lot of people don'tt care anything about playing music, lot
of people don't even care anything about going out and listening
B- Right. Ie've hate them, don't you?
W; RibehcIL do.
B: Ah, but there are certain people who follow different
groups, don't you have people, say ah, car load of girls who
will be so attached to you and your music and your group's music
that they'll come maybe a hundred miles to hear ya.
W: Oh yeah, we've played, we had, we've-got a gig and ah, in
Fayec lle, the weekend you're going with us, you're invited.
B: Oh, thank you, you're very kind.
W: And ah, we have ., when we played down at ah, down at the
Shangra-La, there was some girls-aisor- sw, we told, we said, that
we'd a, we announced that we would be in Fayetville, Friday and
Saturday nights- of course, there were a lot of people, they,
you know, ask where i the place a how < get there,
and what time ~e we going to start P so there's, there's
people that like if they like your group, I mean, if, if, if
a girl, well, usually a girl-w+t4 pick a fellow-out of the
group or something like that and, maybe e-'11 go or, but, if
they like the group they'll follow the group just to hear them
play, you know,
W: That's just like a favorite football team, if yourlike them,
you, you, you'll go see them, you'll watch them.
B: Now, that's very flattering, isn't it?
W: It is.
B: Ah, I have, I've had a little bit of that happen to me,
you know, just in my lecturing,in, in, on poetry and reciting
poetry and going around as a poet, at- for instance,I have this,
dear lovely elderly ladyea&-she must be about ninety-six. And,
ah, she comes, far as I am, if I am within reach, she comes. fVB M%/
this is, this is more encouragement to me than anything I could
think about,Pcause, here she is, and she thinks enough of me to
come all this way and ah, well, there's nothing else like it.
Larry, how about the feeling on stage when you know your audience
is with you?
W- Its, its fantastic. Its marvelous.
B: ):Nothing else like it?
W; Well, you can, you can get up there and you can,1 feel like
letting yourself go, you know, you're playing your hardest, and
if, Sdi if the crowd fllike they enjoy you Stifyou can
B: Yeah, and you try to give them everything you've got,
W: Right, right. I have been in a place, in places wist, and
it was really hard to move crowds, we would either be playing the
wrong stuff or they, some just wouldn't be in the mood. And, its
really hard then to ah, ah, get to, to thesr, you know, you got
to get, ah, you gotta win them over, you know.
B: Right, and they're sort of daring you to do it, you mean.
W: Right, right.
B: They're putting you on your, putting you on test, actually.
T ert s
W: ghf- aLr-e more, there's a lot of difference between just
a regular dance, like a school dance, wten you go in there, all
you do is play the music and they're, they're dancing, they're
not listening to you, ah, like when you, when you- between
songs, they're not, they're not listening to you to, to ah,
be talking with 'em or anything like that, they're young and
all they're out thertfor is to be with their girlfriends and
their friends and dance. But, when you're in a nightclub, or ah,
or you're putting on a show, you've got to ah, where the people
are watching you, watching you perform, you've got to work a lot
harder at it, you've, you not only got to have your music right,
but, you've got to try to entertain. That's where good showman-
ship comes in.
B: Now, how do you feel afterwards? Do you feel as though you've
been through a washing machine wringer or something, are you
W: Well, it, it, it, it depends ah,.
nfld S ceT:r/ape- Fl
B: Ah, we were talking about the way you feel after ah, after a
B: And if you, I believe you said if ah, you know when the tape
ran out, crg, you said, that it depends on which group it is, which
audience you're playing.
W: That's right.
B: No two audiences are ever alike, are they?
W: No, no, they sure aren't. Ah, I have, I've been, I've played
and the crowd was so good that 1, I could play on and on,\ou know, and then,
\ asA, nd o ~_ >tJ
I've been on stage and, I've, you know, I just say, well, I I'll
be glad when I can get offy o'It k ^Jou '
B: Um-hum. How would you like to be a disc-jockey? Have you
ever thought about that?
W: I, I'm not that much of a talker. Entertainer, entertainer's
okay but, I'm not that much of a%,, I don't believe I could ah, I
don't believe I'd make a very good disc,-'ou~-
B: You like to seejaudience,too. How about when, when you play
on television, of course, you don't see anybody except your,
usually, ah, if you're playing in the studio all you-see is the
cameramen and the crew* but, is it better when you play on,
if you're on T. V., does ah, can you, can you, can you sense
the audience or imagine that the audience is there and get help
WP Well, its, its, hard, that's, that's, um, I have, I've seen
'"a;. I guess, everybody have on television and they didn't
like it, and the person standing next to me, he might, he
might-, you know, I likeAte group, I like* the songs Ltay sing,
^, a_'0c JacoJ)c OrsOmeAhnJr
the other person say,,I don't like the' e o ... .
- i'1Q-Q t+h a*
..^.ch. axE. l'ls o. SSo, when you're playing over a television
or radio or something like that, you're, you, you realize that
there's some that's going to like you and there's some that's
not and you're always tense about that.
W: I feel, well, even at a live audience any, any person,-
I believe that says that they can get in front of an audience
and let it all hang out and it doesn't bother them a bit, I
mean, I don't, I don't feel that's c, cause, I am tense
everytime I get on stage, although, XI'try to dance and act
out my parts good. I ah, you never try to frown on stage, we
always try to move the group, eU, butl I'm tense the whole
time, cause, I wonder what's next, see I've got, I'm the head
of the group, I'm the spokesman of the group.
W: And while we're performing, I'm thinking of what I'm
going to do next, you know, how to react to people, whether
they want a fast song, a slow song, 4, what to say when the
song's through, you know.
B: Um-hum. How about the Chavis brothers, you've played some
with them, didn't you?
W: Right, I've a, I've aang a few songs with them.
B: Now, do you think they're good?
W: They're fantastic, they're, they are great. They are great.
B: I i, some of those boys sort of give me credit for discovering
W: Right. You started out with a,...
W: ...with.iJames, the bass player.
B: Yeah, He played guitar for me, when we were playing,
he played guitar, and ah, I would, I would say this is Jimmy
Chavis, the Hillbilly Romeo, cause, we ha4 a hillbilly band, a
Country & Western, maybe, ah, I guess there's a difference
between Hillbilly and Country & Western.
W: I like t-e_4agM Bluegrass, Bluegrassaw good. hi g^f dotuo
B:4 That's strictly hillbilly / some people love it and not
everybody can produce that kind of music.
W: No, its a, that takes a good, well, its, I'd never be able
to dae4g I don't believe I could play as well'as I've seen
B: I guess ah, wouldn't you, do you think ah, Bill Monroe and
'His Bluegrass Boys originated this particular type of musils
B: And before Bill Monroe and His Bluegrass Boys played, you
know, over at the Grand Ole Opry, ?hey had the Monroe Brothers,
Charlie and Bill Monroe...
B: C-and ah, Bill played a fantastic mandolin and Charlie
B: Ah, they were great even then. I can this was a way back,
why, you probably never heard of the Monroe Brothers, I mean,
O ,,- n-ve-r
you never heard, you probably heard of them, buf/,..,
W:A I've never seen them perform.
B: Right, because they broke up, and, ah, got separate bands.
This happens to a lot of people doesn't it?
W: Yes, it does. Its a, its, well, a person can get tired of
music, I guess, just like they can get tired of a job.
W: -Ad they played for so long, they're just ready to get out
B: Ah-hah. Well, I certainly wish you the best of everything,
Larry, and ah, I think you're going to succeed anyway you want
W: Well, I hope so.
B: Maybe, maybe you'll make it with records, too, sometime.
W: I'd like to. I'd like to& *i, I'd like to write some and
ah, well, I'd like to make ah, I'd like to make my life with
B: Well, let me ask you one more thing, Larry. Do people, of
course, everybody who's before a lot of people much of the
time, ur, have people who look up to them, sort of do you
feel anything about this, ah, does this make you be on your
best behavior or act better...
W: Well, yes.
B: ...afraid somebody will copy you if you don't do your best.
W: Well, see you've got, there's so malnt many groups, that
when you're performing, you're not only trying t6 win the crowd's
over, you're competing against Om other groups ou drt say,
well so and so has been here and so and so has been here and
I wonder if they are putting on a show as well as we have, you
B: Um-hum. Frank Sinatra once said that ah, he didn't inow
anything to his audience except a good performance, do you
feel this way?
W: Yes, that's a, that, that, helps, that's the main, main thing.
B: But do you, does your personal life get involved anyway do
teVe people look at your personal life?
W: Yes, they 4.. They'll ah, they'll watch the way you.,
j, ra+, he-
B:_ Louis married, got riedied very early one time, and
this hurt him professionally, I remember. People didn't approve
of him getting married or something. and this hurt his career.
UL)fir 5eM^ ag.ogg
Now, do you think yel geei ea aew people are getting
away from this sort of thing, they're not that demanding any ore?
B' What do you think, about the-same?
W: Well, it, it hasn't changed too very much. I mean, ah,
entertainers, they seem to be, to go a lot faster, you know,
they, ah, especially the ones that, that get breaks and start
making it towartdthe top, you know, they get, that's what
Ju" really breaks a group up,ewhen they start, I believeAwhen
they start getting J(_.l. things.
B: Larry, how about bbesong, now, some of the songs that
people do, you like the ballad type song, now of course, ah,
like Hey Joe do you think this has a special significance
because of this area, we have in this area too often weave
violence, things like this. Ite very sad when you sing the
W: Well, its a, it shows meaning, it a, it happens so often,
you know, so often. Jimmy Hendrix, the late Jimmy Hendrix, he
wrote that song.
W: And a, when I first heard it, I i, I wanted to learn
l istev^lV Xo
that song, I looked through it over and over and over and over
and I finally, just picked up my guitar and I said/Ifm going
to work it out.
B: Um-hum. Ah, does it take you very long to learn a new
W: One person,\o, but, when you work it with the group it gets
pretty frustrating sometimes you play it over and over and
over and overhand a lot of times, by the time you hit the stage
you've worn that song out, you know, you ah.,.
B: For you.
W: Right, right.
B, Well, a lot of people look at musicians and think they're
having a ball and they're not working -td they're just loafing
around, how about that? Could we straighten somebody out on
that little thought.
W: No way.
B: I-s4-'t it,-- one of the hardest working?
W: Well, it, it, it is, it really is. Right. If'you do, if
you perform long hours and work hard at it, like a lot of times
we practice through the day, maybe, three or four hour practice,
and then that night we play, maybe, a six hour or five and a
W f hour gig and that, and by the time you do that and pack
your equipment and load it and take it back to where ever
your practice session is or where ever you store your equipment
and unload it and you get home and you're, you're pretty well
B: oew-, you've done a day's work, haven't you?
W: Right, exactly. You know last week we played, you were with
us, we played every night from ah, seven til one o'clock and
we never got home before three, you know and that was, that was,,
jaFi~un^. TI (a,' I3 M V5 G 1 9 o < '
B: Always when you're offered other connections, people a.la--c
want -to make connections with you and ah, its hard to find time
to sleep then, isn't it?
W Tha't's right. 50h, r L
B: Unless you sneak off/by yourself where they don't know
where you are, where there isn't a telephone, but, you hate to
cut up, cut yourself off from civilization.
W: That's right.
B: AC, do you ever cut the telephone off, tLs,you know, take it
off the hook or something?
W: Well, no, I, I just, I just tell mom and dad that I'm, you
know, I just want to sleep, to leave a number or if its somebody,
if its usually for somebody about playing music I'll, I'll
talk with them, you know, cause, I'm, I'm, I'm always ready
to talk, you know, about a place to play. We have trouble, most
young boys like us, we have trouble playing on, most young rock groups
are always kicked about say, ah,twell, I bet that DAaah, takes
dope or, you know,hsmokes grass or something like that, you
know and that, -th, well, that, hurts us in a way, that's
about the only problem we have 'is ah..,.
B: People think it whether its true or not.
W That's right, that's right. T.ere. f.L. -thing.-,
rae r to think, that's -w-*t,-".e*, I wouldn't want my boys to
get up there on that stage, you know, with, like blue jeans on
and maybe MS i baggy tee-shirt or something like that ye.
gg I like to at least be ah, you know, if your appearance
is decent, you., you'll look a whole lot better. We have been
to places in the --, and asked for --_4 / lola and the first
thing they would say is, 'ia, you boys don't have any dope
or anything on stage, do you? And that, now that, that not
only makes you feel bad, but, it can hurt you, I mean, it's just..,
B: Course, your boyskdon't do that, but, people don't know that.
W: That's right.
B: Well, -al rihct what do you think are the two most things ae,
are, are there certain things that have a tendency to break
bands af, you know, like somebody gets s"w. wvv ar*A or, i
W: Right, well, at our age, I guess, ah, I believe ta-bS most,
I guess girls and then again well, we've had some parents,
they're you know about playing late and then we play a lot
of nightclubs and ah, its hard to get a fellow that, t4at his parents
will let him play.
W: In a place like that.
B: Yeah. Well, Larry, ah, have you got anything else you'd
like to say to us? What would you say to-4ire young people
who want, who want to form a band?
W: Just this, go ahead. You know, that, that's the best thing
ygell, -i, I that's my life, you know, I like, I love to play
B: And you don't just play for the, for the money but, but for-hec
W: Right, right. Tha&s right,
B: Well, I certainly do thank you for giving me this interview.
W: Yeah, well, you're certainly welcome.
B: I know you do have, ah, some things you have to do with
mother and dad, go see your brother in the hospital.
B: And ah, but, I certainly have enjoyed it and thank you so
very much. Bqscaw 3
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